DOCUMENT RESUME

ED 072 997 SO 005 283

AUTHCR Dubocq, Edward R. TITLE : Stone Shapes, Art: 6683.08. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 71 NOTE 30p.; An Authorized Course of Instruction for the Quinmester Program

EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Art Education; Art Products; Behavioral Objectives; Course Content; Course Objectives; Creative Expression; Curriculum Guides; Learning Activities; Resource Guides; *Sculpture; S(r-indary Grades; Techniques; * IDENTIFIERS Florida; *Quinmester Program ABSTRACT This elective course for grades 7-12 was created with a three fold purpose: 1)to create in the student an awareness of the effect of sculptural forms on his environment; 2) to introduce the student to an appreciation of stone sculpture; and 3) to further enhance the artistic abilities pf the student through sculpting in stone. Course content includes an introduction, demonstration of studio procedures, demonstration of stone scnlpture techniques, studio work, aild critique. Some of the behavioral objectives are for the student to be able to:1) define vocabulary terms; 2) identify stone sculptors from past/present art movements; 3) createopen and/or closed forms in stone; and 4) identify the qualities of various types of carving stone. Course procedures, strategies, and suggested learning activities are outlined, and resources for students and teachers are listed. (JLB) FILMED FROM BEST AVAILABLE COPY

AUTHORIZED COURSE OF INSTRUCTION FOR THE Ui I V i Vies,

Prb Co Q

0 --e- > V)

SCULPTURE: STONE SHAPES

6683.08

Art Education

DIVISION OF INSTRUCTION1971 U S OEPARTMENT OF HEALTH. EOUCATION & WELFARE OFFICE OF EDUCATION THIS 00CUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVED FRDM THE PERSON OR ORGANIZATION ORIG !RATING IT POINTS OF VIEW OR OPIN IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDU CATION POSITION OR POLICY

SCULPTURE: STONE SHAPES

(Tentative Course Outline)

ART: 6683.08 6681.07 6682.07

Written by Edward R. Dubocq

for the

DIVISION OF INSTRUCTION Dade County Public Schools Miami, Florida 1971 DADE COUNTY SCHOOL BOARD

Mr. William Lehman, Chairman Mr. G. Holmes Braddock, Vice- Chairman Mrs. Ethel Beckham Mrs. Crutcher Harrison Mrs. Anna Brener Meyers Dr. Ben Sheppard Mr. William H. Turner

Dr. E. L. Whigham, Superintendent of Schools Dade County Public Schools Miami, Florida 33132

Published by the Dade County School Board

Copies of this publication may be obtained through

Textbook Services 2210 S. W. Third Street Miami, Florida 33135 PREFACC

1J,Jrnn:: h.ls beer: referred to b' van contemporary et't,cators as a noun; i% vcrb ,..of..rience--:01 or ac' ;cat :;nd involvo,ont, dcin;: ;t lemu: :t should heand that Kinl of involved learning is :hat tLls connc of stvy is all about:.

The Quinmester Visual Arts Education Curriculum construct is a long range develop.-ental effort directed tviards providing a general education for learn2ra in the aesthetically related art education field. To crTlish this f,1,1_, Instructional couges of study have been dlvelenod 11::sic.:111v by tc;icrs. Many Dade art specialists in various arcs media have bon reeruitd by the Art Office to write over 75 new and innovative COUTSCA of study in the area of art education. Educational speci;:lists from the four corners of this land, along with aestheticians, social critics, and behavioral scientists have hailed the philosophyof the overall art curriculum construct undertaken by the Division of '1m:ruction to be conristent with the latest national trends in art education, and to be an exemplary example of "success" oriented curricula designed to pro- vide intense involvement in aesthetics andcreative arts through group and individualized participation on the part of the learner.

All courses of study produced have been constructed with one major goal in mind: to provide a broad framework of goals and objectives; content; instructional procedures and strategies; and suggested learning activi- ties. ?'any of the technically oriented courses of study 'list a variety of "Work Sheets" designed to assist the learner with specific and highly technic,d studio procedures delineated in a manner so that art specialistr (teachers). can use them "as is," or utilize the source information as a basis for producing "Learning Activities Packages."The appendix may include other pertinent material needed for today's contemporary art cur- riculum, e.g., vocabulary, resources for both learner and teacher, etc.

Constructive criticisms or recommendations relating to this publication are invited; please send to:Art Education Office, Room 300, Lindsey Hop- kins, A-1.

Charles M. King, Consultant Art Education TABLE OF CONTENTS

Page

I. Course Title 1

II. Course Number 1

III. Rationale 1 IV. Course Description 2

A. Description

B. Textbooks

C. Vocational Scheme

D. Method (By week)

E. Synopsis

V. Enrollment Guidelines 3

A. Prior Courses

B. Evaluative Device

C. Concurrent Programs

VI. Behavioral Objectives 4

A. Competencies Expected

B. Conditions

C. Acceptable Preformance

VII. Course Content 6

VIII. Course Procedures, Strategies,and Suggested Learning Activities 7

A. Vocabulary List 7

B. Procedure 8

C. Supplies and Materials 10

ii Table of Contents (cont.) Page

D. Studio Procedures 10

E. Hints for Instructors 11

F. Work Sheets

Selection of Stone 13

Selection of Tools 15

Direct Carving Technique 16

Surface Treatment 19

Base Design and Creation 21

IX. Resources for Pupils 23

X. Resources for Instructors 24

A. Movies, Slides, etc.

B. Textbooks

iii I. COURSE TITLE

SCULPTURE: STONE SHAPES

II. COURSE NUMBERS

ART: 6683.08

6681.07

6682.07

III. RATIONALE:

Sculpture: "Plastic or hard materials that havebeen welded,

carved, engraved, molded,or constructed into a primarily

three-dimensional work of art."

We are constantly surrounded byvarying forms of sculpture in

our natural environment. "Sculpture" can entailany three

dimensional form around us, froma tree to a building. Sculp-

ture, in one way or another, effects every day ofour lives;

be it through an object that is simply pleasingto the eye,

or the pure functionality of a unit of sculptured steel,

the modern automobile.

This course has been created witha threefold purpose: First,

to create in the student an awareness of the effectsculptural

forms have on his environment. Secondly, to introduce the

student to the area of stone sculptureappreciation; and,

thirdly, to further enhance the artistabilities of the student

through sculpting in stone.

1 IV. COURSE DESCRIPTION

A. Elective, grades 7-12, exploratory

B. Textbooks and other materials

Text materials, visuals, vocabulary lists, etc., may be

selected from examples listed in parts IX and X of this

Quinmester Course of Study, at the disgression of the

individual instructor. It is suggested that references

marked with an asterisk be kept on hand for student use

in the classroom.

C. Vocational scheme

To prepare the student for more advanced techniques and

courses in the area of sculptural art.

D. Method (by week)

1. Lecture and demonstrations

2. Studio procedure

a. Critique at the end of each week

b. Movies, lectures, resource materials

3. Studio work

4. Final critique, grading and clean up of studio area

E. Synopsis

NOTE: There are suggested presentation outlines for each

of the sub headings in this section. They are located

in part VIII.

1. Introduction

a. Movies, slides, visuals

b. History and appreciation

2 2. Techniques in stone sculpture

a. Selection of stone

b. Selection of tools

c. Direct carving technique

d. Surface treatment

e. Base design and creation

3. Critique and evaluation.

V. ENROLLMENT GUIDELINES

A. Prior courses

No prerequisites.

B. Evaluative device

Empirical testing should be followed.

C. Concurrent programs

There is no specific program thatmust be taken concurrently. 1

VI. BEHAVIORAL OBJECTIVES

A. Competencies expected upon completionof this unit.

The student will be ableto

1. List correctly the proceduresfor the following stone

sculpture techniques:

a. Selection of stone

b. Selection of tools

c. Direct carving technique

d. Surface treatment

e. Base design and creation

2. Define, orally or in writing,related vocabulary terms

as listed in part VIII of this Quinmester Course of Study.

3. List and identify a minimum of fourstone sculptors from

past and/or present art movements.

4. Demonstrate the correct care for anduse of

tools and related equipment used in thequin.

5. Demonstrate the correct procedures for workingin a stone

sculpting studio.

6. Create open and/or closed forms instone.

7. Create and present for gradeone sculptural example in

stone, using the direct carving method. (Sculpture is to

include a base.)

8. List and identify the qualities ofvarious types of carving

stone (i.e. , serpentine, ,etc.). 9. List the various types of surfacetreatment that may be applied to stone sculpture (aslisted in part VIII

of this QuinmesterCourse of Study).

10. List the correct procedures for designand creation

of a base fora stone sdulpture.

B. The student will demonstrate competenciesunder the fol- lowing conditions:

1. Classroom demonstration

2. Classroom discussion

3. Individual research

4. Individual studioprocedure

5. Group critique

6. Emperical testing

C. Acceptable performance will be determinedby the individual

instructor on the basisof

1. Evaluation of classroomparticipation

2. Emperical testing

3. Required projectsturned in for grade

4. Fulfillment of .10performance objectives

5 VII. COURSE CONTENT

A. Introduction

1. Movies

2. Slides

3. Resource matt

4. Discussion

5. Lecture

B. Demonstration of studio procedures

1. Tools

2. Materials

3. Care and use of studio

C. Demonstration of stone sculpture techniques

1. Selection of stone

2. Selection of tools

3. Direct carving techniques

4. Surface treatment

5. Base design and creation

D. Studio work

1. Individual student assistance

2. Individual student critiques

E. Critique

1. Group

2. Individual VIII. COURSE PROCEDURES, STRATEGIES, ANDSUGGESTED LEARNING ACTIVITIES

A. Vocabulary list

1. Carborundum: A silicone carbide produced inan electric

furnace used as an abrasivematerial for polishing stone.

2. : A sharp edged or pointed tool,available in

various sizes and shapes, usedprimarily for carving

stone.

3. Closed form: A form being solid inappearance; having

no holes or caveties. A form that encloses space.

4. Direct carving: A process by whicha subject is sculpted

directly from a solid piece ofstone by cutting in from

the surface.

5. Igneous: Stone that is formed by theaction of fire:

extremely hard.

6. Mallet: An instrument that is similarto a --used

in striking a chisel tocarve stone.

7. Media: Any substance used in the creationof stone sculp-

ture.

8. Metamorphic: Igneous and sedimentarystones that have

been altered physically bypressure, heat and chemical

action.

9. Open form: A form containing hollowareas, caveties, or

holes (as opposed to "closed" forms).

10. Pumice: A porous or spongy form ofvolcanic glass used

as an abrasive for polishing stone.

7 11. Rasp: A course toothed file used forsurface treatment

on stone.

12. Riffler file: A file similar to arasp, only smaller,

used to work areas wherea rasp cannot reach.

13. Sculptor: One who sculpts, orcreates sculpture.

14. Sculpture: Plastic or hard materials thathave been

carved, engraved, molded, welded,or constructed into

a primarily three dimensional work ofart.

15. Sedimentary: Formed by the action ofwater, or sediment.

Usually showing stratification (layering).

16. Studio: Any area designated for,or in which artistic

creation takes place.

17. Texture: The structure of the surface ofa work of art.

18. Wet and dry: A sandpaper that may be useddry, or in

combination with water to polishstone.

B. Procedure

(Suggested instructordemonstration aid.)

The general procedures that apply to all forms ofsculpture

will be discussed in thissection. Individual procedures

for specific sculpturetechniques will be listedon the work

sheets.

The primary guideline applying to all forms ofsculpture is

good three-dimensional design. In sculpture, one must relate

his design to a free standingform that will be viewed from

all sides. One should keep this factin mind when designing

8 his sketches or models. If a sculpture has been well

designed, it will be pleasing to the eye from any angle.

As in painting or collage, the design should be developed

through a series of thumbnail sketches or clay models.

Develop an idea of what you want your sculpture to look

like before you begin to carve. By doing this series

of quick "shape" or "form" models, one will discover

certain forms that appeal to his artistic style. In

some cases, the rough block of stone will suggest cer-

tain forma in itself.

Another factor to consider is the base, or stand, that will support the finished sculpture. It is easy to

make the mistake of designing a base that detracts from

the visual effect of the sculpture. Remember that when

a base is used, it becomes a part of the sculpture.

It should relate to the sculpture and yet be subtle in

its relationship.

Finally, in creating your sculpture, try and have the

finished piece show "movement."A piece of sculpture

that appears to relate "movement" or "action" has

a much greater and more pleasing visual impact than one

that is stagnant or unmoving.

9 More specific steps in the creation ofstone sculpture

are outlined in the work sheets included in this Course

of Study.

C. Supplies and materials needed

1. Stone (see work sheet)

2. Carving tools (see work sheet)

3. Wet/dry sandpaper (200-400 grit)

4. Sandbags

4. Oil drums

6. Water

7. Files

8. Rasps

9. Goggles

10. Pumic stone

11. Steel rod

12. Epoxy glue

13. Material for base (wood, stone, etc.)

14. Carborundum paper

15. Polishing wax (furniture or automobile type)

16. Polishing cloth

17. Polishing powders

D. Studio procedures for students

(This list may be duplicatedand distributed to individual

students.)

1. Each student will be assignedan individual work and

10 storage area which he or she will beresponsible for.

2. Carving tools will be distributed on a sign-out basis.

Students will be expected to demonstrate correct care

for and use of carving tools.

3. At no time will any student be allowed to use, touch,

or move another student's materials orproject.

E. Hints for instructors

1. There are many visual aids available. Plan the ordering

of movies, slides, etc. well in advance.

2. Design the studio so that there is a specific area or

rack to store all supplies. This makes for an excel-

lent way of getting a quick check of materials at the

end of each period.

3. Assign monitor positions, on a rotating basis.

4. If tools are at a premium, have students sign them

out.

5. Have a monitor sweep the studio at the end of each

period.

6. Fifty gallon oil drums make excellent work tables for

students.

7. Prepare a one-foot-square by two or three inch thick

sandbag for each student, out of heavy duct canvas.

They make excellent supports while the sculpture is

being carved.

8. Make regular periodic checks of students carving tools

11 for sharpness. A dull carving tool will make carving

difficult and slow the students progress.

9. Require all students to wear goggles to protect their

eyes when carving, or watching others carve.

F. Work sheets

The following suggested work sheets have been designed as

IP aids for the indicidual students. They may be duplicated

as-is and distributed to the students for reference, fol-

lowing the instructors demonstrations. I. WORK SHEET--STONE SCULPTURE

Selection of Stone

There are numerous types of stone, all varying in color,texture,

hardness, and consistency. In this work sheet, several of the

more common types (many of whichmay be obtained locally and

cheaply), and their characteristics,will be discussed. The

final selection isup to the individual sculptor.

The following descriptionsare applicable to most examples of

each type. There are always some individualpieces of stone that

may differ.

1. Marble (metamorphic)

a. Consistency: Medium hard to hard.

b. Color: Varying--cream, white, pink

c. Sculptability: Relatively easy to control. Minimal

amount of faults. (Many types available--Carrara

(Italy) is the best available.--Georgiamarble is the most

obrainable at a low cost.)

2. Soapstone (talc, steatite) (Metamorphic)

a. Consistency: Soft, easily carved

b. Color: White-gray, green, brown

c. Sculptability: Easily carved, highly polishable,inexpen-

sive. Soap-like feel (thus thename soapstone). Less

colorful than marble, less durable.

13 3. Serpentine

a. Consistency: Medium hard

b. Color: Varying shades of green

c. Sculptability: Unpredictable, contains many faults.

Highly polishable. May be obtained locally.

4. (Igneous)

ti a. Consistency: Very hard, coarse grained

b. Color: Very light to black; speckled

c. Sculptability: Very hard (not recommended for beginners)

5. Sandstone (Sedimentary)

a. Consistency: Very hard

b. Color: Brown

c. Sculptability: Almost as hard as granite. Very similar in

structure

6. (metamorphic)

a. Consistency: Soft

b. Color: Gray, green, brown

c. Sculptability: Easily carved, however, tends to split in

layers. Highly polishable with wax. May be obtained locally

Most of the above types of scone are available locally.Marble

and serpentine are the most applicable for thiscourse.

14 WORK SHEET--STONE SCULPTURE

Selection of Tools

The following tools and equipmentare considered necessary for

carving in stone:

1. Mallet: Striking mallets come in sizes from 1 to 2 1/2 lbs.

(A 2 lb. mallet would be themost practical for this unit.)

(Iron head)

2. Point: One carving point, having a carbide tip,--standard

size.

3. Claw: One four-pointed claw chisel (hardened steel)

4. Flat chisel: One (hardened steel) 1 -11-U-11-

5. Protective goggles: (or face mask) /

6. Pumice stone

7. Assorted files and rasps: (hardened steel)

8. Wet/dry sandpaper: (assorted grits--to ".400")

9. Carborundum paper

10. Polishing powder

11. Wax: Furniture or automobile type

12. Polishing rags: Preferably cotton

NOTE: There is an almost unlimited variety ofpoints, claws, and

available. Those suggested in this work sheetare

minimal, yet sufficient in numberto carve in stone.

(Some of the above materialsmay be supplied by your instructor.)

15 WORK SHEET--STONE SCULPTURE

Direct Carving Techniu

It is best to begin by doinga series of thumbnail sketches.

This course is concerned with "Sculpture in the Round."That is,

sculpture that may be viewed from all sides. Work up sketches

of the shape you wish to carve, doingviews from different angles.

(Some pieces of stone actually suggest shapesfrom within.)

Once you have decided upon the shape,or see a shape in the stone,

you are ready to begin.

Check the stone for faults. They may appear as hairline cracks or dark streaks on the surface. (Wetting the stone may make it easier to see these faults.) If you should discover a fault, try and design your sculpture to work aroundit or carve it away. It will help to avoid a possible disappointingsplit in the stone later.

Set the stone down firmlyon a sandbag. Using the point and mallet, experiment on the surface of thestone. (Are you wearing protective goggles?) The point should be held at betweena 45 and 90 degree angle from the surface of the stone.

Get the "feel" of the material andthe tools. Different types and pieces of stone vary greatly in theircomposition. Observe how the stone breaks off, or chips. Once you have a good idea of what the stone is like,you are ready to begin.

Some sculptors draw on the stone to helpcontrol the carving. If

16 this works for you it would be to your advantage to doso.

When you begin to carve, the best way to approach the piece is

to carve from all sides, rather than concentratingon one specific

side or area. This will help control your proportion.

Do not try to rush the carving. Stone sculpting is a deliberate

process and cannot be hurried. Remember, once you cut a piece

of stone away, you cannot put it back.

Continue to carve the stone with the point, until youare approxi-

mately 1/2 inch from the finished surface in allareas. You may

then proceed to carve using the claw.

The claw is the first step in finishing. It creates a criss-crossed

pattern in the stone which is smoother than the surface texture

created with the point. (Should you be using a textured surface,

there may be areas you wish to leave with point texture alone,

or you may want to leave claw texture in certain areas.)

Once you have finished with the clawyou are ready to repeat the

process using the chisel. With the chisel, the surface can be

smoothed to the final stage in carving. Once this step is completed, you are ready to move on to the work sheet on surface treatment.

Suggestions

1. At all times, tools must be kept sharp. Use a gridstone--

without oil. (Oil tends to leave stains in the stone.)

2. When carving, always wear protective goggles.

17 3. If you encounter a vein in the stone, carve carefully.

The vein itself will usually be harder than the surrounding

stone. It is better to leave the vein as a small ridge

(which can be filed down later) than to try andcarve it

away with the point or claw. (Carving may cause grooves

on either side of the vein.)

4. Remember to work slowly, and carefully. Mistakes are

hard to cover up or hide.

Good luck:

18 WORK SHEET--STONE SCULPTURE

Surface Treatment

Materials

1. Carving tools 5. Carborundum paper

2. Files and rasps 6. Polishing powder

3. Pumice 7. Wax

4. Wet/dry sandpapers 8. Buffing rags

Procedure

There are two basic types of surfacetreatment. One is a

rough, tooled surface; the other,rubbed and polished.

Texture may play a very importantpart in your sculpture.

You will find artists who givestrong arguments for both

types of finishing. A well rubbed, highly polishedsurface

will bring out all of the3rain patterns and color hues in

the stone. This process is very effectiveon hard stone

such as marble or serpentine.

On the other hand the play ofvarious textures against each

other can also givevery dramatic effects to the stone. No

two artists will sculpta piece of stone the same way. Each

sculptor'a hand tooled marksact almost as a signature does on

a painting; identifying the artist withthe work.

The final decisionas to which type of surface treatment is

to be used, rests with the individualartist. The two processes

are accomplished as follows:

19 A. Tooled (textured) surface treatment

A textured surface is one which is left in a rough state.

The actual chisel marks used in carving are allowed to

remain visible on the surface. The degree of texture

depends on how fine the tools, which are used to carve,

are. Use of the point alone will result in a very rough

surface texture. If the sculptor works all the way

down to the claws or riffler files, a much smoother texture

will result.

B. Rubbing and polishing

1. This process begins once the sculptor has carved the

stone to its smoothest state with chisels and files.

2. The next step is to rub the stone with pumice or other

polishing stones. This will bring the surface to a

higher degree of smoothness.

3. The stone is then rubbed with wet/dry sandpaper. It

is advisable to use water in this step, to keep the

stone and the paper clean and abrasive.--Work down to

00 grit.

4. Rub the stone with polishing powder, available from

your instructor.

5. Wash the stone thorougly and allow to dry.

6, Apply a final coat of automobile or furniture polish.

7. Buff to a high sheen.

--You are now ready to mount the sculpture.

20 WORK SHEET--STONE SCULPTURE

Base Design and Creation

Most sculpture is created either free standing,or mounted on a

separate base. If your sculpture is of the second type, here are

some guidelines in the creation of a suitable base.

Design

A base should be designed to compliment the sculpture for which

it is made. The design should be simple and direct. Keep in

mind that the base should not detract from the visual impact of

the sculpture itself.

Some sculptors hnve a base in mindas early as when they are

still'carving the sculpture. However, the artist must remember

that the base is designed to fit the sculpture;not the other

way around.

Simplicity is the key word in the disign ofa bood base.

Media compatability

The next step in creating your base isto select the material

from which it is made.

Basically, it is a matter of individual tasteas to which material

should be selected. As you have already selected a design, the

next step is to decide upon a color and texture. For example;

a smoothe marble base is generally a cream color. Some types

of marble have pink or gray hues. Certain types of stone may

not look too pleasing on such a base--for example; serpentine,

which is green.

21 A metal base often works well, for itmay be painted any

number of colors. There are also many types of woodthat can

be used effectively.

As you can see, it would beup to the individual artist as

to what material to use. Let your artistic knowledge of

color and design be your guide.

Texture

Again, we arc in the realm of individualtaste. Do not limit

yourself to just a smooth texture. Experiment with several.

You may find your sculpture standsout better against a

rough or primitive style base.

Mounting

There are basically two ways in whicha sculpture may be

mounted.

1. Attaching the sculpture directlyto the base with an

epoxy-type of glue.

2. Mounting the sculpture in a raised positionon wood or

metal dowels, also using anepoxy glue.

--Experiment with both methods beforemaking tho mount

permanent.

22 1 IX. RESOURCES FOR PUPILS

Baldwin, John, Contemporary Sculpture Techniques. Reinhold, 1967.

*Clarke, Geoffrey, A Sculptors Manual. Reinhold, 1968.

Craven, Wayne, Sculpture in America. Crowell, 1968.

Gardner, Albert T., American Sculpture. N.Y.G.S., 1965.

Giedion, Welcker, Contemporary Sculpture. Third edition, Wittenborn, 1961.

Hanfman, George M., Classical Sculpture. Volumn 1, N.Y.G.S., 1967.

*Jansen, History of Art. Prentice Hall, 1962.

*Meilach, Dona Z., Creative Carving. Reilley and Lee, 1969.

*Mills, John W., The Technique of Sculpture. Reinhold, 1967.

Moore, Henry, Sculpture and Drawings. Volumn 3 (1955064), Wittenborn, 1965.

Reed, Sir Herbert, Concise History of Modern Sculpture. Praeger, 1964.

*Reed, Sir Herbert, Form Space and Vision. Graham Collier, 1967. (State adoped text)

*Indicates texts that should be kept on hand for use in the

classroom.

23 X. RESOURCES FOR INSTRUCTORS

NOTE: Resources marked:with an asterisk have been selected

as most effective during previewing.

A. Movies, slides (Available through Dade CountyB.P.I.- -

Instructional Materials Division)

Beauty in Stone (Filmstrip) 10'C JS Wayne Univ. 1-04130

Living Stone (Filmstrip) 33'CEJS NFB--Canada 1-31155

New Directions in Three Dimensions (1-20) C EJS (slides) 5-20031

New Dimensions in Three Dimensions (21-40) C EJS (slides) 5-20036

Nineteenth Century Sculpture C JST (slides) 5-20158

Twentieth Century Sculpture C JST (slides) 5-20159

B. Textbooks

Clarke, Geoffrey, A Sculptor's Manual. Reinhold, 1968.

Jansen, History of Art. Prentice Hall, 1962.

Meilach, Dona Z., Creative Carving. Reilley and Lee, 1967.

Mills, John W., The Technique of Sculpture. Reinhold, 1967.

Reed, Sir Herbert, Form Space and Vision. Graham Collier, 1967. (State adopted text)

END

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